Musical notation



o. M. FEE.

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,u v A gmc@ Me Si i. A- nl 1 x Q/M w v UNITED STATES PATENT OFFlCE.

ORLANDO M. FEE, OF LA MANDA PARK, CALIFORNIA.

MUSICAL NOTATION.

Application filed. October 2S, 1921. Serial No. 511,095.

To all 107mm 'it may concern:

Be it known that I, GnLANno M. Fen, a citizen of the United States, residing at La Manda Park, inthe county of Los Angeles and State of California, have invented certain y new and use'lful Improvements in a Musical Notation; and I do hereby declare the following to bea full, clear, and exact description ci: y the invention, such as will enable others skilled in the art to which it appertains to make and use the same.

The object of the invention is toprovide a system or revised method of musical notation whereby the teaching of music is 'facilitated and lmore particularly whereby the transposition of music to vary the pitch, both in vocal and instrumental music may t be attained without ditliculty or substantial confusion on the part of the performer and without an extensive knowledge of the theory of music such as harmony or thoroughbase; and in this connection toy provide the method of composing and publishing music whereby a single copy will represent, ready for performance, either vocally or instrumentally or both, a given composition in high, low and medium registers; and with,

these objects in view the invention consists in a method involving a graphic representation illustrated in the accompanying drawi ing, wherein:

Figure l is a view of a stai upon which is represented a phrase of music arranged in accordance with the invention.

Figure 2 is a similar representation. where-` in the signatures representing the transpositions are included.

Figure 3 is a view of; a two staff, or treble and bass stati phrase.

rl`he system contemplates the use o'l an. augmented stati comprehending a plurality of conventional staves or staves as they are now used and which consist of ive lines and four spaces, and in the construction `illustrated the augmented stati' includes seven lines by the addition of one below andsone above the normaler conventional stall, and in practice it is proposed to distingnishably designate these several staffs represented by diterent groups of live lines constituting the selectively available staffs which may be used in reading the music represented by the notes appearing thereon. y

In the drawing these several groups of lines representing selectively available conventional staves are distinguished by the characters ot the marginal lines thereof as for examplethe intermediate or main groupL or stati" is provided with marginal heavy lines, while the lower selective staff is provided with marginal dash lines and` the upper selective stad is represented by marginal dotted lines. In practice colors may be used for distinguishing these groups of lines representing staves, as for example the main or intermediate staff may befprovided with marginal lines ot red, while the lower stati may have marginal lines of green and the upper stall3 may have marginal lines of blue. i

'In practice the several groups of lines representing the alternative staves may be connected or embraced by brackets as shown at the lett in Figure l and the brackets may be distinguishably designated by` the character of the lines or the color thereof to correspond with. those of the staves to which they refer.

Moreover in practice it is preferred that the clef as shown shall be disposed on the main or intermediate statt in the ordinary` way and such a position as to designate the degrees of the stati' in accordance with the conventional method, the Gr clef or treble clef being represented in the drawings, Figure l, placed upon the second line (counting as usual. from the bottom) to indicate that the note G occurs on the second line of the stati. rlhe notes representing the music are representedyon the main or intermediatey staff which as hereinabove indicated is distinguishably designated with reterence` to the alternative staves by being provided with. marginal heavy lines, and whether the phrase ot music appearing thereon or in any preferred key (in which case a suitable signature should also appear as in the ordinary practice) it is obvious that the music can be read as ordinarily in the pitch in which it is written, with the supplemental lines below and above the stati which is being used performing the ituction as in the ordinary practice of leger lines.

"When it is desired however, as :tor eX- ample in vocal music, to adapt the piece Li O selected staff. In this case, assuming that the clef is G, and is moved with the staff which is to be used so that the leger C appears on the second line of the stati", it will be obvious that the first note appearingl in the illustration of Figure l instead of being C as written on the main or intermediate stall Will be l@ and the music may then be reproduced acizordingly and therefore at a higher pitch by tive degrees or whole tones than written on the intermediate stall'. In the same Way if a lower pitch of the music is desired the upper alternative or selective staff may be used, in Lwhich event, assuming again that the clef as indicateifl in Figure l and therefore posit-ions the note Gr on the second line of the selected stall, it is obvious that the first note appearing in theillustration in Figure l Will be y Of course the tonic of the key or scale in which the piece is Written will determine the signature or the sharps or flats, which must be read into the composition in order to agree with the scale in which the music pitched, and therefore, for the convenience of the performer it is desirable to indicate the tonic of the scale, or the note or notes representing the tonic of the scale, in which the piece is Written or printed as an easy method of designating' the scale. To, this end as shown in the drawing, Figure l, a small dot or mark, in this instance a cross, is represented in advance ot' the first note occurring on the stall' and at intervals throughout the composition Where the saine note, C in this instance, appears, as a reminder to the performer that this note represents the tonie of the' key in which the composition is Written. Therefore, as represented en the intermediate or medium. ister staff, as shown in liligure l, the note C represents the tonic of the composition or of the key in which the composition written and. therefore that the said composition is in the key of C in which there are no sharps or flats in the signature. Of course accident-als may occur fromy time to time in the composition and must be provided for in accordance with their known characteristics in raising;l or loweringl the pitch of the, tone .represented by the note in connection with 'which they are used.

Now assun'iinp, for example that the u pper voice register is to be used or in other Words that the con'iposition will be reproduced in accordance With the lower statt' in which the first note appears in the example shown as E, it is obvious that the composition must then be reproduced in the key of which the signature is represented by foar sharps. As indicated in the example Fig'. 2, this signature may be represented on the staff to which it relates or it may simply be left to the knowledgel of the performer that as the key of E involves four sharps affectinsegni ing the notes occurring as F, C, G and D. a corresponding nualitication must be made in reproducing the composition as read on the transposed statt'.

ln the same Wav if the lower voice ree*- ister desired andy therefor the composition is read as it appears on the upper selective or alternative stall' wherein the tonic appears in the second space and is A, thi` signature consisting` of three sharps may appear as indicated in lligjure 2 or it may simply be remembered by the performer so that prope f allowance n'iay be made for the same in the reproduction.

As a means of communicating a knowledge .relatively of the scales or keys and their relation to the keyboard of an instrument of the piano or organ type the arrangement above indicated., particularly when used in comparison With the keyboard, materially facilitates appreciation by the student of the principle involved by presenting` the subject graphically and avoiding to a lgreat extent the nec ssity of consideringv the saine only in 'the abstract, and as 'Will be obvious, iin the man ner of transposition, 'the `work of the publisher is inaterially facilitated in that the composition published in one key is adapted to cover at least three keys and Ywith no additional er1;- pense other than that which might be incurred in the representation of the aun'- inented stall' as conipared with the ordinary or conventional stati".

As the space between the treble and bass staves of music Written in accordance Vwith the conventional notation, wherein said stares are usually provided respectively `with ditlferent clefs G and li", which place the notes E, G, B, l), F on the lines of the treble stati and the notes (al, B, D, F, A on the lines of the bass stalll allows only space for one leger line below the treble stalll or one leger line above the base sta'lf, for the note C, it 'is obvious that nuisic thus `written on two staves using the coaventimial clef designations nuist omit the seventh or upper line of the lower or bass stall and bc limiteifl to six linesl for the. bass stallf, in order to avoid confusion. But when tluJ YI'ull seven line aiunnented stall'l arrang'en'ient is to be used for both trebl i and basfnthe above difficulty can be (Wei-come by Vusing' the (l clef and eorrespondinn` designations of the degree of beth staves, as shown in Figure 3. There is then room for the extra line C below the conventional treble stall" and Vthe extra line A above the bass sta lf having the treble degree designations. i

Haif'ing thus described the invention, what l claim isr- 1. A method of formingl a musical notation enal'ilinol easy transposition of a musical composition con'iprisingl adding to an ordinary live line statt' a line above or below lll) said sta or both, Connecting the lines of this augmented staff in groups of five, marking each group with an appropriate signature so that the composition as Written will read correctly in the signature marked.

2. A method of forming a musical notation enabling easy transposition of a musicai composition comprising augmenting a staff by increasing the number of lines, and in connecting the lines of: the staff thus augmented in groups, and in applying signatures to the groups so that the composition as Written will read correctly in the ysignature marked.

3. A method of forming a musical notation enabling easy transposition of a musi cal composition comprising adding a line to the lines of a stai, connecting the lines thus augmented in groups, marking each group With an appropriate signature so that the composition as Written will read correctly in the signature marked. f

In testimony whereof I aHiX my signature in presence of two Witnesses.

ORLANDO M. FEE.

Witnesses:

J. T. ENGLE, PAUL'M. S'r. JOHN. 

